Karbala is one of the most important religious centres for the Shias. It is believed that it was in Karbala (present-day Iraq) that the battle between Yazid and Imam Hussain had taken place and where Imam Hussain was killed. 

Karbalas of Lucknow are predominantly complexes with representations of the tomb of Imam Hussain, like the one in Iraq. The Nawabs and other wealthy Shias commissioned a number of Karbalas in the city. They are important centres during Muharram and are also used as cemeteries. 

Of the many Karbalas in Lucknow, the most important is the Talkatora Karbala. Dating back to the year 1789, this Karbala was built by Khuda Baksh Khan, a nobleman in the court of Nawab Saadat Ali Khan. The complex has the representation of the tomb (rauza) of Imam Hussain, an Imambara, two mosques and a cemetery - said to be the largest Shia cemetery in Lucknow. It is here that on the tenth day of Muharram, the mourners end their procession and bury the tazias, making it an extremely important religious centre for the Shias of Lucknow.

Jama Masjid, located to the west of Chhota Imambara is a fine specimen of Awadhi architecture. Its construction was commenced in 1839 by Muhammad Ali Shah, with an intention to overshadow all the other mosques in Lucknow including Asaf-ud-Daula’s mosque in the Bara Imambara complex. 

However, he died before the completion of the mosque, after which it was completed by his wife Begum Malika Jahan in 1845.

Made of lakhauri bricks and lime plaster, the structure has a rectangular prayer hall. The prayer hall is surmounted by three domes, each decorated with inverted lotus on top. The interior is plain, in order to avoid mental distraction while praying. In the front, at both corners are octagonal minarets crowned by chhatris. The magnificent facade has eleven arches of which the central one is of an imposing height. The lofty doorway is ornamented with stucco, painted in green with hints of white and brick red.

The Chhota Imambara, the prominent architectural complex, was so named to differentiate it from the other complex, the Bara Imambara. This was the only name given to the complex. A Russian Prince had once called it the ‘Kremlin of India’ and later it was also referred to as the ‘Babylon of India’. 

There is an elegant compound wall with the main entrance bearing the typical tripolia like structures. There are two large brass statues of a European female, placed near the main gateway of the premise. There also exists a brass fish hoisted on either side of it to indicate the direction of the wind. The Imambara has in its front a raised rectangular tank spanned by a small bridge. On one side of the tank is a small golden-domed mosque while on the other side is the tomb of the Nawab’s daughter Zinat Asiya. There is also a hammam in the premises.

Built by Nawab Muhammad Ali Shah (1837-42), the Chhota Imambara is one of the most adorned Imambaras of Lucknow. It was built as a congregation hall for Shias and a burial place for the Nawab and his mother. 

The roof of the Imambara is surmounted by a gilded dome in the centre, and two cupolas on either side. This is further surrounded by several turrets and minarets. The crest of the dome has a crescent moon encircling a rising sun. The arcaded exterior is adorned with geometrical and arabesque designs and Quranic verses in praise of Hazrat Ali. The most attractive part is its interior which is adorned with chandeliers of Belgium glass, kandeels, deewargirs and shaamdans. On special nights when the Imambara is lit up and light passes through these glass artefacts, it provides a different ambience altogether. A silver mimber has been kept for seating the Marsiago and Imams of the Majlis. 

In the inner hall are the graves of the Nawab and his mother, enclosed in a silver grill. The famous silver brocaded wax tazia is kept in one of the chambers. Sandalwood and ivory tazias are kept on a raised platform called the Shah-n-sheen. 
 

Adjoining the rectangular tank is the tomb of Princess Zinat Asiya. This mausoleum was constructed by the Princess’s father Muhammad Ali Shah (1837-42), the Nawab of Awadh.

The structure is a small-scale imitation of the world-famous mausoleum at Agra - the Taj Mahal.  Unlike the Taj Mahal which is made of marble, this structure is constructed of lakhauri bricks and lime plaster. The polished texture of its walls and doorways was achieved by mixing eggshells in white lime. 

The walls of this mausoleum boast exquisite inlay work, mainly floral and geometric motifs. This, together with the ornate scrollwork of verses from the Quran on the inner mehrabs, is similar to that of the Taj Mahal to some extent. The floor has a chequered network of marble tiles. The tomb of the Princess is flanked by the tomb of her husband and other members of the Royal Family. 

The Satkhanda, literally meaning, a seven storeyed building is a circular tower that was built by Muhammad Ali Shah. Unfortunately, the Nawab died before the structure was complete, leaving it as a four-storied building.

The story goes that the Satkhanda was constructed to sight the moon on Eid. As the king injured his leg while walking down the stairs, people believed it was inauspicious and decided not to complete it. 

Mohammad Ali Shah wanted the building to be different from the structures in Delhi. Said to be inspired by the Leaning Tower of Pisa, it was Raja Bakhtawar Singh who was commissioned to prepare the design of the building.

Spiral staircases lead to the different floors of the Satkhanda. The height and width of the stories decrease as one moves up the building. 

The Satkhanda is an amalgamation of Greek and Mughal architectural styles. The pediments in the tower are inspired by the Greek style and the arches by the Mughal tradition. It is embellished with triple-arched windows and compartments.

The iconic Rumi Darwaza is located between the Bara and Chhota Imambara and once served as the entrance to the old city of Lucknow. This sixty-foot high gateway is said to have been built as one of the structures undertaken as a famine relief measure in 1784 by Nawab Asaf-ud-Daula. The aim was to provide work opportunities for the masses who had been affected by the famine. 

The structure bears a strong resemblance to a gate named Bab-i-Humayun at ancient Constantinople, today’s Istanbul in Turkey, and hence it is also referred to as the ‘Turkish Gate’. However, it is popularly known as the Rumi Darwaza where the term Rumi was locally referred to Rome since Constantinople was then a part of the Eastern Roman Empire. 

The monument is an example of Awadhi architecture which is a regional adaptation of Mughal architecture. Viewed from a distance this gateway looks like a vast dome cut perpendicularly. It is lavishly ornamented with floral designs and is capped by a chhatri (an umbrella-like structure). The exquisitely carved flower buds along the sides of the arch add to the charm of this magnificent structure. 

This historic building that today houses the office of the State Bank of India, was once an observatory. Built during the reign of Nasir-ud-Din Haider, the Tara Wali Kothi or the ‘Star House’ was a result of the Nawab’s desire for an observatory in Lucknow. Its construction began in the year 1832 and was initially under the superintendence of Captain Herbert. However, due to certain delays and the death of Captain Herbert, it was finally completed in the year 1835 under Col. Wilcox.

This structure once housed several astronomical instruments. These included different sized telescopes, thermometers, manometers and much more, which were all designed based on the instruments used at the Royal Observatory in Greenwich.  
The roof of the building once had a circular room with a hemispherical dome. Interestingly, this dome could revolve, thus the gigantic telescopes housed inside could be used from any position. Tara Wali Kothi was in use until the death of Col. Wilcox in 1847. 

In 1857, this building was put to use by Maulvi Ahmedullah Shah, also known as ‘Danka Shah’. Maulvi, who had migrated from Faizabad, established his headquarters and an office of the revolutionaries at this Kothi. 

The Residency Complex in Lucknow was once home to the European and British inhabitants of the city.
Situated on what was then the highest point of Lucknow, this complex was called ‘the Residency’ after its most prominent building- the official residence of the British Resident to the Court of Awadh.

The first buildings in this complex were constructed in 1775, when the Nawabs of Awadh moved their capital from Faizabad to Lucknow. Many of them were initially built with wood and straw, until stronger brick structures eventually replaced them.

Apart from the Residency, the complex also comprised a series of smaller bungalows, a treasury, guest quarters, offices, a lavish and elaborately decorated ‘Banqueting Hall’, a church, a school, sprawling lawns and squares, and a military zone complete with barracks, a jail, and stables. Many of these structures, as well as most written records of their function have been lost today- a result of the siege and destruction that engulfed the Residency Complex during 1857.

The structures that survive today give us some idea as to what life in this part of Lucknow must have been like.

Not much remains of this three-storeyed building that was once the official residence of the British Resident to the Court of Awadh. The Resident of Lucknow acted as a representative of the European population of the city- it was his job to interact with the Nawab on behalf of the Europeans.

A task as important as this, accorded him a certain status, and this was reflected in the grand residence that he was given. The Residency was said to have three storeys, a long veranda, and two turrets at its North and South corner, each with a spiral staircase that led to a roof, decorated with an Italian design. The building had tehkhanas- or underground cellars, which could help its inhabitants survive the harsh summers of Lucknow.

Today, the Residency stands in ruins and its walls still bear the marks of the cannon balls that were fired at them during the siege of 1857.

The Banqueting Hall was one of the grandest structures of the Residency Complex, and the site of many lavish feasts that were hosted here, often in honour of the Nawab, who was a frequent visitor to the complex.

Apart from several mirrored rooms for socialising and celebrations, the Banqueting Hall also had small apartments to accommodate guests and the staff who worked at the Residency complex.

While much of its splendour has faded away, hints of it still remain. For example, visitors to this monument can still spot an ornate fireplace, constructed with stucco plaster, and the tall arched doorways that connected these rooms to one another.

During the unrest of 1857, the Banqueting Hall was converted into a hospital.

The Begum Kothi is one of the older buildings in the complex and has changed hands many times in its history.

Built before the Residency complex came up, it was bought from Nawab Asaf-ud-Daula by the Assistant Resident, Sacville Marcus, sometime in the last decade of the 18th century.  The Assistant Resident later sold it to George Prendergast- a merchant who set up a shop for European goods in its premises. It changed function once again in the first decade of the 19th century, when it was bought by Andrew Culloden. In 1837, Culloden’s granddaughter, a woman known as Malika Mukhdara Aliya or Vilayati (foreign) Begum made the Kothi her residence, after the demise of her husband, the Nawab Nasir-ud-din Haider.

It was the Begum’s stepsister, Ashrafunnisa who is credited with building the mosque that today stands adjacent to the Kothi.

The Mosque and the Imambara were built in the mid-nineteenth century by a member of the Awadhi Royal family. 
The mosque is still active today, and stands out from the ruins around it, thanks to its triple domes, elegant minarets, and cusped arches- all examples of Awadhi architecture. 

Originally built in 1810 for the Protestant population that lived in the complex, the ornate and awe-inspiring design of this church matched the grandeur of the mosques and temples that stood nearby, outside the boundaries of the Residency Complex.

In the present day, the Church can be identified by one single spire which rises about two-three feet high. The cemetery around the Church was built to accommodate those who died in the turmoil that occurred in 1857, during the First War of Independence, when many European inhabitants of the Residency lost their lives to the Indian forces attacking them.

With no way to transport them to the designated cemetery in the nearby cantonment, these victims were hastily buried in the church grounds and eventually, the area became a cemetery with more than 2000 graves of men, women and children who did not survive 1857. 

These old ruins were once a house. Like many other structures of the Residency, this house is today named after the person who lived there during 1857- a surgeon known as Dr. Fayrer. 

The luxurious facade of the house was damaged by shelling and cannonballs, but it is still possible to see traces of the elegant pillars, the tall doorways, the British-style arches that must have once been the focal points of this structure. It is also possible to see the exposed walls, constructed with a material that was synonymous with Lucknow- the flat, rectangular lakhauri brick.

Built originally as a treasury, this double-storeyed structure was converted into a manufacturing unit in 1857, to manufacture cartridges, as the soldiers of the Residency fought the revolutionaries. Today, the Treasury is a memorial of sorts- bearing plaques commemorating the soldiers who died defending the Residency in 1857.

The 1857 Mutiny Memorial Museum is housed in a historical building inside the complex, and was opened to the public in 2005.

Its collections range from old archival photographs and lithographs, to weapons and musical instruments.

A room in the museum houses sculptures of Brigadier-General Sir Henry Lawrence, who was the Chief Commissioner of Awadh during the siege of 1857, and Ms. Susannah Palmer, another resident of the complex. It was in this very room in 1857, that they were both killed, after being attacked by cannonballs and gunfire.

Adjacent to the museum building is a tall monolith in the shape of a cross. This ‘High Cross’ commemorates Sir Henry Lawrence. Nearby is another marker for Sir John Inglis, a British Army officer who fell after protecting the complex for 87 days.

It was Wajid Ali Shah’s luxurious choice of lifestyle that gave Lucknow its third palace, Kaiserbagh. A complex with well laid out gardens and magnificent structures, Kaiserbagh spoke of the grandeur of the Nawab. 

Completed in the year 1850, Nawab Wajid Ali Shah is believed to have spent about eight lakhs on its construction. 

Double storied structures dotted the complex, some with typical Nawabi architecture, some others that drew inspiration from European architecture. Many believe that even though Nawab Wajid Ali Shah surpassed his predecessors in building architecturally beautiful structures, they were not strong enough unlike the other structures in Lucknow. 

People were allowed to visit the Kaiserbagh complex once a year, on the day of Jogia Mela. For this occasion, Nawab Wajid Ali Shah would dress up as a yogi and sit under the mulberry tree, on a circular marble platform. 

With all the major buildings destroyed and demolished post 1857, one can only imagine how magnificent the complex would have been.

Kaiserbagh was a city in itself, with different kinds of structures - kothis, baradaris, large courtyards and gateways, spread across the complex. Each structure was surrounded by independent walls, making this a key architectural feature of the complex. Interestingly, the main quadrangle called the Paree Khana was dedicated solely to the Nawab’s queens. 

Not all structures were built by Nawab Wajid Ali Shah. While some were confiscated from their owners such as the Roshan-ud-Daula Kothi, some formed a part of the complex as a result of their geographical location, like the Tombs of Saadat Ali Khan and his wife. 

The Kaiserbagh complex was demolished during the First War of Independence in 1857 and today, only a few structures survive. The kothis that once surrounded the complex were given to the taluqdars by the British Government post 1857, on the order that they be kept intact.

Within a few years, the British decided to construct a road dividing the entire area into two. As a result of which, the structures that escaped the wrath of that dreadful year are now scattered across the Kaiserbagh area. 

The Kaiserbagh palace complex had a number of magnificent gateways - Sher Darwaza, the eastern and western Lakhi Darwaza and the Mermaid Darwaza, to name a few. 

Sher Darwaza or the Lion Gate was one of the entry points to the complex. It is the only structure left untouched by the British. It was under this gateway that on the 26th of September 1857, a British officer, Brigadier General Neil, was shot and had subsequently died. Interestingly, in his memory, a small monument was erected at that exact spot. 

Situated on the eastern and western side of the Safed Baradari, the set of Lakhi Darwazas was once a part of the complex. They were so named because the Nawab had spent ‘lakhs’ on their construction. Intricately decorated, these Darwazas also have the fish motifs which were popular among the Nawabs.

The Mermaid Darwaza, an interestingly named gateway, gets its name from the four beautiful mermaids that were used as motifs. It was once situated close to the Badshah Manzil, where the Nawab resided. It is said that the Wazir, Nawab Ali Naqi Khan used to reside close to this gateway because of its proximity to the Nawab’s residence. However, this structure does not exist today. 

While a number of buildings were constructed by Nawab Wajid Ali Shah as a part of his plan for the complex, some buildings were confiscated by him from their owners. 

The Roshan-ud-Daula Kothi once belonged to a minister of Nasir-ud-din Haider which was later confiscated by Nawab Wajid Ali Shah. After its inclusion in the Kaiserbagh complex, Wajid Ali Shah renamed it to Kaisar Pasand. It then became the residence of one of his favourite begums. 
In 1857, the lower rooms of this kothi were used as a prison for the British captives. This imposing structure is probably the only surviving building of a unique Indo-French style in the city. Today, this building is the office of the State Archaeology Department. 

Another interesting structure within the complex was the Chaulakhi Kothi. Once owned by the royal barber, Azim-ulah-Khan, Nawab Wajid Ali Shah bought this magnificent building from him for four lakhs. Hence, giving it the name, Chaulakhi - Chau (four) and Lakh (lakhs). This structure was later occupied by the chief begums of Wajid Ali Shah. 
Begum Hazrat Mahal held her court in the Chaulakhi Kothi in 1857. It was in 1877 that the British completely demolished this structure which had witnessed years of luxury and grandeur.

Baradari is a commonly found structure in and around Lucknow. The term Baradari is derived from the words Bara (twelve) and Dar (door). Thus meaning a hall with twelve doors. 
Though there are multiple baradaris found in Lucknow, the Safed Baradari is a prominent landmark. 

Safed Baradari was once a part of the Kaiserbagh palace complex. Situated in between the eastern and western Lakhi Darwaza, the Safed Baradari was so named because of its beautiful white colour. Built by Wajid Ali Shah, it was originally called Qasr-ul-Aza, an Imambara and a place for mourning. 
Today, this structure has a number of portraits and paintings of the Nawabs on display. Contrary to its original use, today, Safed Baradari is used for festivities and other occasions. 

There were a few more baradaris within the complex. For instance, the Chandiwali Baradari was an ordinary structure, made of bricks and mortar. It gets its unique name from the thin silver (chandi) sheets that were used to cover its roof, columns and walls. Chandiwali Baradari was situated close to the Badshah Manzil which was built by Nawab Saadat Ali Khan and later occupied by the King, Nawab Wajid Ali Shah himself.

The two ornately decorated tombs of Nawab Saadat Ali Khan and his wife, Khursheed Zadi are situated in the Kaiserbagh area. An interesting story about the spot where the tombs stand today is how Ghazi-ud-Din Haider, the son of the Nawab, sacrificed his residential complex for these tombs to be erected.

After ascending the throne, Ghazi-ud-Din Haider resided in Nawab Saadat Ali Khan’s palace. Haider believed that since he had occupied this palace, it was only ‘fair’ for him to give up his residential complex, for his deceased father. He immediately ordered the demolition of his palace and what resulted in this mere exchange of ‘resting places’ is this beautiful set of tombs. 

It is said that during 1857, these tombs were well fortified and had mounted cannons, and the firing from these tombs hindered Major Havelock’s advance towards the residency. 

Nawab’s tomb, square in plan, is beautifully decorated with stucco work. Surmounted by a large dome, it also has the graves of his brothers, wives and daughters. One of the key features of the interiors of the tomb is the main hall with black and white marbles, placed in the chessboard format. 
Khursheed Zadi’s tomb is equally beautiful and ornate, decorated with arched windows and miniature domes. 

The Chhatar Manzil was a palace complex constructed on the south bank of the River Gomti by clearing out the wooded areas. The construction was initiated by Nawab Saadat Ali Khan (r.  1798-1814) and the complex served as the residence of the Nawabs from 1803 up till the time when Nawab Wajid Ali Shah (1847-1856) constructed the royal residence at Kaiserbagh (1852). 

The Chhatar Manzil complex contains buildings such as the Farhat Baksh Kothi, General Kothi, and the Badi Chhatar Manzil on the riverbank side, and the Chhoti Chhatar Manzil, Kothi Darshan Bilas, Gulistan-i-Iram, and the Lal Baradari in the areas lying further south.

The whole area was surrounded by a compound wall and the structures were interspersed with gardens and fountains. The complex derives its name from the gilt umbrella structure or the ‘chhatra’ which can be seen on the dome of the Badi Chhatar Manzil. The buildings portray a hybrid style incorporating both Indian and western features. 

The complex became the stronghold of the Indian revolutionaries during 1857 and thus faced heavy shelling at the hands of the British forces. Post 1857, a road was made in between these buildings, and many of them were restored and used as government offices. 

Kothi Farhat Baksh, initially named Martin’s Villa or Chateau De Lyon, was the first building to be constructed in this complex. Built by Claude Martin in 1781, it served as his residence till he died in 1800. Thereafter it was auctioned off to Joseph Quieros, Martin’s Spanish steward, who outbid Nawab Saadat Ali Khan. 

The Nawab, who had named it Farhat Baksh (giver of delight) when he regained his health while residing here during an illness, bought it from Quieros in 1803. The Kothi was used as a  residence of the Nawabs. The ground floor had rooms and a hall which partly extended over the river, supported by piers that were placed in the river bed. The upper storey had airy pavilions, while the attic housed a museum and on the roof, there was an observatory. The two basement floors had large rooms which were used in the hot summer months. The basement was also used to access the river by boats. Two octagonal towers rose high from the basement to provide ventilation. The structure was made with bricks, which were faced with stucco. The interiors were adorned in oriental style drapery and marble structures, while the exteriors were detailed in European style, using pillars, pediments, and parapets.

The construction of the Badi Chhatar Manzil or the Umbrella Palace was begun during the reign of Nawab Saadat Ali Khan (r.1798- 1814) and it continued under his successor, Ghazi-ud-din Haider (r. 1814-1827). Located to the east of Farhat Baksh, it was the second building to come up on the riverbank. It served as the Zenana or the residence of Begums, while the Nawabs continued to live in Farhat Baksh. It is famous for its domes which were adorned with umbrella-shaped gilt finials. It is also said that the building was named after Nawab Saadat Ali Khan’s mother, Chhatar Kunwar. 

Built in the Indo-Italian style, the building has three floors above the ground and two floors in the basement. The underground chambers were used for accessing the river with boats. The building had an open roof with columns on two sides, and porches which were made in the front and the rear to enjoy the panoramic views of the river.
The building contains European detailing such as columns, pediments and arched doors and windows. It served as a stronghold of the Indians during 1857. Later the British used it as the premises of the United Services Club and a library. From 1950s to 2014 it housed the Central Drug Research Institute.

The Chhoti Chhatar Manzil is a two-storied structure built on the southern side of the Badi Chhatar Manzil. This was built by Nawab Ghazi-ud-din Haider (r. 1814-1827) and served as the living quarters of the Begums.
The architecture is the same as the Badi Chhatar Manzil and it was surmounted by a dome with a gilt umbrella. There was once a marble tank in between the two Chhatar Manzils, which is presently buried beneath the road that runs between them. 

Just like the other buildings in this complex, this too served as a stronghold of the revolutionaries during the First War of Independence. As a result of the heavy shelling by the British, its dome and the chhatri were destroyed. After the British regained control in Lucknow they restored it and converted it into the Office of the Department of Land Records and Agriculture of the United Province of Agra and Oudh. Post-independence it continued to host various government offices.

Lying close to the Chhoti Chhatar Manzil, is Kothi Darshan Vilas. This structure was made by Nawab Ghazi-ud-din Haider (r.1814-1827) and completed by Nawab Nasir-ud-din Haider (r. 1827-37). It was also called the ‘Chaurukhi Kothi’ as its four sides are designed according to the features of other heritage buildings of the city. 

The front resembles the Dilkusha Palace, the rear is like the river-facing side of Kothi Farhat Baksh, one of the sides is like the Musabagh structure while the other side shows a combination of all the three structures. This building, thus incorporated both Indian and European styles. The Kothi was occupied by the Begums of the Nawabs, the most famous being Qudsia Begum and thus this was also known as Qudsia Mahal. 

The building was used as a home for the engineers of the East India Company after the First War of Independence in 1857. In the post-independence period it housed the state Health directorate, till it was vacated and since then has undergone restoration.

The Lal Baradari, as the name suggest, is a red coloured (lal) building with 12 doors (baradari). It is located south of Gulistan-e-Iram. Constructed by Nawab Saadat Ali Khan (1798-1814), it was also known as Qasr-us-Sultan or the ‘Palace of the Sultan’. The building was used for the coronation of the Nawabs and for holding durbars, during which the British Resident would formally seat the new Nawab on the throne and present a nazar (gift).

Built of Lakhori bricks, the red exterior was achieved by painting the stucco in a dark red colour to imitate red sandstone. The two storeyed building rests over underground cellars which have carved stone grills for ventilation. Two passages lead up to the Darbar Hall which is decorated with carvings, paintings and jaali work. The building had beautiful tapestry and portraits of the members of the royal family adorning its walls. There was an interior garden which was decorated with fountains and statues.

Nawab Nasir-ud-din Haider added a European touch to the building and replaced the Nawabi Takht or the seat for a golden English throne which was decorated with ivory carvings. On October 16, 1859, a grand Darbar was held, where the first Viceroy of India Lord Canning read the Queen’s Proclamation.  After independence, this building housed the State Lalit Kala Academy and hosted many art exhibitions.

Also known as General Wali Kothi or Jarnail Kothi, it was built by Nawab Saadat Ali khan as the house for the commander-in-chief of his army. It is located on the western side of Farhat Baksh Kothi, with its rear facing the Gomti River. The first resident of this Kothi was the Nawab’s eldest son Ahmad Ali Khan who was made the chief of the army.

It is a two-storeyed bungalow built in the European style. The façade has Italian style arches each bearing the serpent hood motif. The kothi also has a basement in which there were tunnels leading to the other buildings.
The kothi came to be occupied by Sikandar Hashmat Ali Mirza, Nawab Wajid Ali Shah’s elder brother, who was the chief of the army during the First War of Independence. When the British forces launched the offensive, the Kothi was bravely defended by a group of soldiers till it fell to the enemy. Many inmates including the children of the army chief were arrested, and the building was extensively damaged, but the army chief managed to escape via the river.

The kothi was later used by the British government as a guest house for the officers of the Board of Revenue.

Built by Nawab Asaf-ud-daula, the Bibiapur Kothi is located in the cantonment area of Lucknow on the banks of River Gomti. He used it as a country house and as a hunting lodge. Designed by Claude Martin, the rectangular two-storeyed structure was built in the European style and was surrounded by a big park. It was constructed using Lakhauri bricks which were set in lime mortar and coated with thick lime plaster. The façade was marked by arched doors fitted with wooden blinds, while the interiors had spacious halls with high ceilings, and spiral staircases, all decorated with white and blue tiles.  

It was to this Kothi that a new British Resident would first come on his arrival in Lucknow. In 1798 the British Resident, Teignmouth, held a darbar here in which he informed Nawab Asaf ud daula’s son Wazir Ali of his deposition. It was also one of the palaces that were to be left under the full jurisdiction of Nawab Wajid Ali Shah as mentioned in the terms of the draft treaty offered to him by the East India Company in 1856. Post 1857 it was used as a convalescent depot for the troops in the cantonment.
 

The Dilkusha or Dilkhusha (the Heart’s Delight), constructed in 1800 by Nawab Saadat Ali Khan (1798-1814) was a hunting lodge that was also used as a summer house by the Nawabs. It lies in the cantonment area of Lucknow. It was designed by the Nawab’s friend Gore Ousley, who was inspired by Seaton Delaval Hall, in Northumberland. The palace was set in the centre of a large park, which was stocked with deer and game.

Made in typical European style, the house could be accessed by a flight of stairs which led to a highly ornamental portico at the end of which was the main door. Together with the doors and windows dressed in wooden Venetian blinds, it formed an imposing façade. There were towers on the two ends which had spiral staircases inside. The palace was at the centre of the disturbances during the 1857 First War of Independence, and it was here that Henry Havelock died in the month of November, the same year. The building faced much damage but was restored and became the residence of the General Commanding the Oudh Division during the British rule.
 

The Aliganj locality in the trans-Gomti area of Lucknow is said to have been founded by Bahu Begum, the mother of Nawab Asaf-ud-Daula. It was named after Hazrat Ali. However today it is famous for the two Hanuman temples that are located here.

The old Hanuman temple was constructed by Janab-e-Aliya, the mother of Saadat Ali Khan. The dome of the temple was adorned by the crescent moon emblem of the kingdom of Awadh. Thus both the crescent and the flag of the Lord are seen atop this temple, representing the composite culture (Ganga-Jamuni Tehzeeb) of the city.

Interestingly, Janab-e-Aliya belonged to a Thakur family and her maiden name was Chhatra Kunwar. Her faith in Lord Hanuman had led her to name her son ‘Manglu’, who later adopted the name Saadat Ali Khan.
At a short distance lies the new Hanuman temple which was built by Lala Jatmal in 1783. The idol of the God kept in the sanctum sanctorum is said to have been unearthed by him following a divine instruction received during a dream. 

The temples are connected with the annual Bada Mangal festival and the fair. 

While the city of Lucknow is dotted with numerous kothis and other residential structures, a few stand out for their role in major historic incidents. 

Raj Bhavan, today the residence of the Governor of Uttar Pradesh was once known as Kothi Hayat Baksh. Originally planned and constructed by Claude Martin per the desires of Nawab Saadat Ali Khan, the two-storied structure flaunts its splendid European architecture. Though built during the reign of Saadat Ali Khan, this building was never occupied by the ruler. However, Hayat Baksh was home to many British officials. Interestingly, Claude Martin himself used Hayat Baksh as his arsenal for a brief period. 

The term Hayat Baksh means the ‘Giver of Life’ but this was not the only name given to this structure. After the annexation of Lucknow by the British, Hayat Baksh came to be known as Banks House, named after Major Banks, the Commissioner of Lucknow who resided here. 

Later during the siege of Lucknow, Hayat Baksh formed a strong base of the British Army under the direction of Brigadier Russell and was attacked twice. 

Considerable changes were made to this Kothi over the years but it continues to retain its character as the seat of authority.

The Nadan Mahal complex lies in the Yahiyaganj locality in the Chowk area of Lucknow. It contains three structures which bear graves, two of which are tombs while the third is a 16-pillared pavilion. The complex is named after Abdur Rahim who was also known as ‘Nidan Shah’.

Abdur Rahim was a nobleman from Bijnaur near Moradabad, who was awarded the subedari of Awadh by the Mughal emperor Akbar. He and his wife lie buried in the domed square tomb, which is faced with red sandstone. The dome stands on a red sandstone platform and is surrounded by a pillared verandah.
The second tomb belongs to Sheikh Ibrahim Chishti and has a Persian inscription that states that the saint expired in 961 Hijri (1553-54).

The canopied pavilion known as Solah Khambha has five unmarked graves. The pillars have exquisitely ornamented bases and brackets, that have ‘Gajmukh’, ‘Nagphan’, and the lotus carvings.
Together, the structures of Nadan Mahal belong to the period of Mughal rule and are some of the oldest surviving monuments of Lucknow. They have been built in the Mughal style and differ from the other structures of the city in terms of both detailing and material. 

In 1921 it was decided to transfer the capital of the United Provinces of Agra and Oudh from Allahabad to Lucknow. This necessitated the construction of a building that could house the Legislative Assembly. Thus, the foundation of the Council House was laid by the Governor of the Province, Sir Harcourt Butler, in 1922.

Designed by Sir Swinton Jacob and Heera Singh, the building took 6 years to complete. Built in the Indo-European style of the twentieth century, the two-storeyed crescent-shaped structure is constructed with light brown sandstone blocks brought from Chunar, in Mirzapur.

The centre of the crescent has a large Gothic dome, with sculpted stone figures adorning its facade. The interiors boast of large chambers, galleries, and verandahs, many of which are built of Agra and Jaipur marble. The central hall is octagonal and its circular roof is decorated with inlay-work and figures of dancing peacocks.

In July 1935 an extension of the building was made to house the Legislative Council. After independence, the State emblem, carved in marble, was embedded above the triple-arched front of the portico. Today the building, known as Vidhan Bhavan, serves as the venue for both the houses of the legislature of the State.

Situated on the south bank of the Gomti, Teele Wali Masjid is the oldest mosque in the city. It is so named because it stands on an old mound or tila. This mound known as Lakshman tila is mythologically associated with Lakshman, brother of Lord Rama. Lakshman is also said to be the founder of the city of Lucknow.

The mosque was built by the Mughal Emperor Aurangzeb, hence it is also known as the Aurangzeb Mosque. Aurangzeb is said to have built it during his visit to the city, on his way back from Faizabad. It was once a commanding structure in the city, as it was erected at such a great height. 

In the seventeenth century, it was known as Shaikh Pir Muhammad Hill Mosque after a learned saint who had migrated from Jaunpur and had died here in 1080 Hijri Era (1668-69 CE). He lies buried near the mosque. The mosque continues to be functional today and is one of the few structures in the city built in the Mughal style of architecture.
 

The Bara Imambara or the Asafi Imambara was built by Nawab Asaf-ud-Daula between 1784 and 1791. It is said to have been built to provide income to the people of Awadh who were suffering from a devastating famine. The legend goes that even the nobility would work on the Imambara, but through the night to maintain their anonymity and earn money in their tough times.

Asaf-ud-Daula is said to have held a design competition for building the Imambara which was subsequently won by an architect from Delhi, Kifayat-Ullah. As remuneration, he wished to be buried in the complex. His wish was granted and today within the complex are the graves of Kifayat-Ullah, Nawab Asaf-ud-Daula and the Nawab’s wife. 

Asaf-ud-Daula had employed a Kitab Khwan, perfume bearers and chandelier lighters in the complex. He had also ordered 40 Quran readers to look after his grave after he was buried. However, this number was later reduced to 10 by Saadat Ali Khan to save money. 

Following the horrific year of 1857, the British took control of the complex and used the Imambara as a fort. They lived in the complex and the great hall was used as an armoury where heavy guns were kept. 

As rulers with Shia affiliation, the religious identity of the Nawabs is also reflected in their architecture. The battle of Karbala is commemorated every year during Muharram. Imambaras are an important place of worship for Shias during this time.

A component of this commemoration is the majlis or a gathering to remember the suffering of the Shia martyrs. 
The central hall of Imambara was designated for this ritual. In the Majlis, the Marsiya, a poem to lament the death of Hazrat Imam Hussain and his supporters, was recited. Asaf-ud-Daula had employed Marsiya singers and Marsiya-Khwans in the Bara Imambara. 

During Muharram, a julus or mourning procession is taken out to remember Imam Hussain’s journey. The tazia is one of the ritual objects used in the julus. It is a replica of Imam Hussain’s tomb at Karbala. In the Bara Imambara, the central hall houses many such tazias. 

Interestingly, the arched roof of the Imambara is built without the help of a single beam or pillar and is the largest such hall in the world. This was done by the kara dena technique. Bricks were broken into different sizes at different angles and then joined together at these points to form an interlocking pattern.

The central hall of the Bara Imambara is exceptionally large. It was difficult to build it and then elevate it. The builders solved this issue by skillfully constructing a maze-like structure along the length of the wall. The honeycomb pattern also ensured that the whole structure became lighter. This structure is today known as the Bhool Bhulaiya. 

Accessed from an outside entrance on the left of the Imambara, it consists of a labyrinth of narrow corridors which are extremely difficult to navigate. The 489 identical doors do not make it easy to find a way through this maze either.

It is said that even the softest of sounds uttered at one end of the Bhool Bhulaiya can be heard on the other end of the long labyrinth. 

Above the Bhool Bhulaiya is the rooftop, which unlike most other structures with domes, is flat and can be accessed by visitors. The rooftop is flanked with an embellished boundary wall that is interspersed with jharokhas.

The mosque inside the Bara Imambara complex - Asafi Mosque, is used for offering prayers. Built on a raised platform, the structure has three domes and two intricate minarets. The minarets are over 150 feet in height and can be accessed through a staircase. 

When the structure was built, the Asafi mosque and the Imambara rested on two separate plinths. The plinth of the mosque had an arcaded platform foundation with internal stairs. The platform was subsequently destroyed and replaced with a marble staircase that today connects the mosque to the Imambara. 

During the First War of Independence in 1857, the British had taken control of the Imambara complex. From July 1857 to June 20, 1884, they used it for storing gunpowder, guns and canons. 

Today, a mujtahid leads the prayers in the Asafi mosque and as many as 5,000 people visit it everyday. 15,000 people gather here on Fridays, and almost 50,000 visit the Asafi mosque on special occasions like Alvida, Muharram and Eid.

The Shahi Baoli, as the name suggests, is a royal step well, located within the Bara Imambara complex. When the Imambara was being built, a well was dug in the complex as a source of water for the construction work. Subsequently, it was discovered that the well was connected to the Gomti and could thus be used as a permanent source of water. 

Asaf-ud-Daula however, converted it into the luxurious Shahi Mehman Khana or the Royal Guest House which boasted of having fountains for both hot and cold water. 
Warren Hastings, the Governor-General of East India Company is said to have stayed here. 

According to a legend the Diwan of one of the Nawabs held the key and the map to the royal treasury and jumped into this baoli to prevent the British from getting their hands on the treasure.

An interesting aspect is that the baoli could be used for surveillance. One could see the reflection of all the activities at the entrance of the complex, in its water. 
However, only a small part of this Baoli survives today. 

Sikandar Bagh is one of the largest botanical gardens in India and the first to be declared as a National Botanical Garden by the Council of Scientific and Industrial Research in 1953. 

It was the last Nawab, Wajid Ali Shah (1847-56) who built it in memory of his wife Begum Sikandar Mahal, hence the name ‘Sikandar Bagh’. Initially, it was a 150 square yards garden enclosed by a 50-foot high wall containing a summer house constructed in lakhauri bricks with lime plaster. Its main architects were Ghulam Ali Raza Khan, Dianut-ud-Daula, Sabir Ali Khan and Kashi Ram. 

During the First War of Independence in 1857, it was a stronghold of revolutionaries who fiercely fought against the British forces. In the battle, the walls were heavily damaged by cannon shots. The gate was later repaired in 1903 by the British Government and subsequently turned into the ‘Government Horticulture Garden’ and later named as ‘National Botanical Garden’. It was adopted by the Council of Scientific and Industrial Research in 1953 and was renamed in 1978 as the ‘National Botanical Research Institute’ which is now a premier plant research institute of the country. 

Lucknow has around five clock towers, each constantly reminding the residents of the hours of the day. Among these, the most famous is the Husainabad Clock Tower, modelled after the iconic Big Ben in London. It was built by Nawab Nasir-ud-din Haider for the visit of Sir George Cooper, Bart., the first Lieutenant-Governor of the United Provinces of Agra and Oudh. 

Interestingly, it was made by the clockmaker to the Queen, James William Benson himself. The clock is made of bell metal that was brought all the way from London. It is a construction marvel as it was not easy to take heavy machinery to a height of 221 feet. It is regarded as the tallest clock tower in India. 

The tower stopped functioning in 1984 and attempts were made to restore it in 1999, 2004 and 2009 but were not successful. A last attempt was made by Lucknow residents, Akhilesh Agarwal and Paritosh Chauhan who made the clock function in 2010. Finally, in February of 2011, the residents of Lucknow heard the clock bells chime again. 

The Hussainabad Picture Gallery located nearby gives a glimpse into the lives of the Nawabs of Awadh. Built as a baradari (structure with 12 gates), it was constructed by Nawab Mohammad Ali Shah in 1838. The main hall houses some rare, magnificent, life-size paintings of the Nawabs of Awadh. 

Local legend says that the paintings were made on elephant skin using paints made from diamond.